There’s something about wet plate photography that I can’t get out of my head. Maybe it’s the process, maybe it’s the unpredictable nature of it – Sally Mann calls it “the angel of uncertainty.” Or maybe it’s the permanence of the objects themselves. When you look at a plate by Matthew Brady or Timothy O’Sullivan, for a moment you’re no longer part of the present. And I would argue that that sense of timelessness is one of the reasons a handful of modern photographers still choose to embrace the 170-year-old process. In 2018 there was a Sally Mann show at…